Review Summary: A formulaic-yet-fun commercial metal album trapped by a lack of originality, feeling entirely derivative of Avenged Sevenfold's 'Nightmare'.
If 'We Stitch These Wounds' was Black Veil Brides' take on Avenged Sevenfold's seminal 'Waking The Fallen,' then their follow-up was an attempt at imitating the formula of 'Nightmare.' This second effort from the much-maligned trend-followers is entirely derivative of that mixture of hard rock song structures and radio-friendly metal riffing, and sees the band once again attempting to cash in on the trends that were oh so influential on the lives of angsty teenagers still undergoing the process of self-discovery. As such, much of the lyricism falls into that motivational category of attempting to tell their audience that they are not alone, whilst the musicians here offer a palatable variety of riffs that have been heard a hundred times before from other bands, yet remain somewhat interesting.
'Set The World On Fire' has almost entirely shed the breakdown-heavy metalcore sound of their debut album, whilst the screamed vocals are also far less frequent here. In their place, the band provide an adequate selection of catchy riffs with a notable step up in technical proficiency. Whilst the band never threaten to compete with a band such as Necrophagist, the compositions here are intricate in ways the debut never was, adding a roster of techniques absent from that release. "New Religion" showcases the newfound love for lead guitar fills, whilst the sweep-picking found in the bridge helps establish the improvements in technique. The pinched harmonics in "Die For You" are another example of the more dynamic guitar work here, whilst closing track "Youth & Whisky" feels like the suitable climax for the record. The guitar work on this song is really engaging, with the verse riff maintaining a heavy rhythm, the chorus embellished by some fancy lead work, and the bridge sounding surprisingly heavy with its use of tremolo picking. The solos on this album are also worthy of praise, providing each song with that one standout moment of indulgence. "Love Isn't Always Fair" is elevated purely by its numerous solos, each one easily distinguishable from the others, perhaps standing out as a song purely for aspiring guitarists.
Despite coming on leaps and bounds as performers, the songwriting here is mostly lackluster. The formula of verse-chorus-verse-chorus-bridge-chorus is a well-worn trope of the more commercial side of rock and metal, as acts such as Bullet For My Valentine and Trivium have been guilty of at times throughout their respective careers, and there isn't much deviation here either. "Fallen Angels" is especially guilty of this lack of creativity, relying solely upon its hook and the "be yourself" positive message transparently directed towards the band's own fans. The verse is carried by an unremarkable riff and monotonous vocals from Andy Biersack, whilst the chorus' repetition of "we scream, we shout" feel as though it is purely attempting to cater to a live atmosphere. "Saviour" attempts to mix things up a little in the guise of a calmer ballad-type song, with a first half devoid of any of the heavier riffing that eventually transitions into a more intense closing section containing some of the rare screamed vocals on the album. The song is clearly intended to feel epic, yet Andy's strained vocals in the chorus suck any real emotion from the track, and the harsh vocals do not suit the mood of the song. "Die For You" suffers hugely from Andy's lack of vocal range, with a chorus rendered almost unlistenable as a result.
The strongest songs on this album are the ones in which the band offers a throwback to their metalcore roots. Whilst on 'We Stitch These Wounds' this sound felt exhausting, in the smaller offerings on this album it becomes rather pleasing, and this variety ensures the album remains more listenable. "New Religion" contains a riff reminiscent of the chugging breakdowns on their previous album, whilst never relying on a phrase screamed in harsh vocals to sound catchy. "Youth & Whisky" utilizes the harsh vocals and breakdown to lead into the guitar solo to great effect, rather than using a lead melody to ease the listener into the shredding as is found on many of the songs here. Perhaps the best example of the integration of those metalcore traits into the band's more accessible sound is "The Legacy," which is possibly the best track they have ever recorded. The drumming in the introduction is surprisingly solid, utilizing double-bass to give an incessant rumble in the background whilst the low-end guitar riffing stays varied throughout. The usage of a lead fill between vocal lines in the second verse gives it enough variety to prevent the vocals from ruining the experience, and the prolonged scream is a suitably effective means to progress into a refreshing breakdown passage. As opposed to following the Asking Alexandria-route of mindless open string chugging at varied tempos, the use of more varied riffs makes this breakdown feel a little more significant, and a standout moment on the album.
'Set The World On Fire' is not a masterpiece in any sense of the word. This is an album with a sound owed entirely to many of the band's peers, with few ideas that feel remotely unique. It is also a record that remains engaging as a result of significantly improved guitar work, including some great shredded solos and more technically proficient playing. The occasional throwback to their debut album ensure it feels adequately varied, yet the vocals are as painful to endure as they were there. For anyone looking for catchy commercial metal music with solid guitar work, whilst there are better recommendations, this is still an album containing enough variety and solid musicianship to be worthy of a listen.
